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Grateful Dead Live at Madison Square Garden on 1991-09-10

Set 1:
d1t01 | 2:44 | Crowd & Tuning
d1t02 | 14:04 | Shakedown Street >
d1t03 | 5:44 | C.C. Rider >
d1t04 | 4:26 | It Takes A Lot To Laugh It Takes A Train To Cry
d1t05 | 1:46 | Crowd
d1t06 | 6:13 | Black Throated Wind
d1t07 | 0:53 | Crowd
d1t08 | 7:46 | High Time
d1t09 | 1:41 | Crowd
d1t10 | 7:07 | Cassidy
d1t11 | 1:21 | Crowd
d1t12 | 9:25 | Deal

Set 2:
d2t01 | 1:41 | Crowd & Tuning
d2t02 | 3:15 | Help On The Way >
d2t03 | 8:02 | Slipknot >
d2t04 | 10:19 | Franklin's Tower
d2t05 | 13:04 | Estimated Prophet >
d2t06 | 12:20 | Dark Star >
d2t07 | 10:39 | Drums >
d3t01 | 2:22 | Space >
d3t02 | 12:19 | Dark Star >
d3t03 | 4:13 | I Need A Miracle >
d3t04 | 9:02 | Standing On the Moon >
d3t05 | 6:49 | Lovelight
d3t06 | 2:18 | Crowd

d3t07 | 7:20 | It's All Over Now Baby Blue

Comment: *Branford Marsalis on saxophone throughout

Collection GratefulDead
Band/Artist Grateful Dead
Venue Madison Square Garden
Location New York City, NY

Source Matrix of GEMS sources (See notes)
Transferred by Matrix by Dan Haugh


**Note this matrix was created using the raw non-dithered transfers from the GEMS sources

Transfer: DATs > TASCAM DA-20 (SPDIF out) ->
LynxTWO-B Audio Reference Interface (SPDIF in) ->
Wavelab 6.0 by Todd Evans January 15, 2009 (
Weiss Saracon used for 24-bit, 48kHz SRC (no dither)

Matrix synch completed by Amdig
SBD + AUD Matrix from 2 GEMS Source Mix
* Time sych done in CEPro 2.0
* Multitrack matrix mixdown to 24/48 in CEPro 2.0

Final Matrix Matstering:
Jamie Waddell ( on the GEMS Edit Station.
Weiss Saracon for 16 BIT 44.1kHz SRC and POWR-3 Dither
Encoding by BlueDakota. Tracked in Wavelab 6.0, FLACd Flac Frontend level 8
Tag & Rename for FLAC Meta-Tagging.

Art: Gyro

A **GEMS** Production


Reviewer: Deadhead225 - - June 29, 2014
Subject: Hornsby and Vince are lame
I revisited this show after looking at Deadbase VII taper rankings of shows, and was very optimistic. I have had a tape of this show since week or so after it was played. I saw a lot of shows during this time period, and it all came back to me listening to this show.

The front 3 and Branford together with the drums are sublime and visit some truly amazing places especially in the first segment of Dark Star, but up to that point of the show, all similar places have this spotlight of lameness from the keys shown on them that is really a shame and are embarrassing to any Deadhead who would wish to share the musical experience to someone not familiar. Fortunately they are taken down in the mix considerably during DS.

Those two clowns could throw a wet blanket on nearly any spark of inspiration. Hornsby is out of tune and all during Estimated it is painfully obvious. Even Vince's sax sound sounds better next to that. Which is another thing that is incomprehensible. That Vince would play that effect while on stage with Branford is just weird. Poor Hornsby was always caught somewhere between a soap opera soundtrack and a Parisian cheese fest with his accordion, which is mercifully absent here.

Both of them were vacuous players, watching Hornsby's clueless blank looks during jams was confirmation, and it was a blessing when it ended up being just Vince, who never got it all the way.

If you still want to give it a whirl, this matrix is a masterful work that incorporates all the elements of a NY crowd with a killer board. Other '91 era shows that stand out are 10/31 6/14 6/24,25. Plenty of cheese to go around.
Reviewer: darkstarcrashes_79 - - September 14, 2013
Subject: head and shoulders imo
head and shoulders above in the 6 of 10 I saw on this run and best I've heard otherwise. killer setlist executed nicely and w/ Branford to boot. Of course this killer matrix here doesn't disappoint. The Shakedown is better than decent for 91 parts around the 9 minute mark remind me of New Orleans must've been the horns or the crystal wash. The the first set gotta lot of not often heard tunes but really the 2nd is where it's at. The H/S/F especially the S was intense for sure, and my favorite DarkStar since 89 even better than D.C. in 90 imo. Lotta critics find a lot of fault with this tour but I think they just haven't moved on from the glory years of the 70's. I mean who that's in their 50' can do their job now as good as when they were in they're 20's? no matter what that job is. I respect all their years even though myself saw my last show in 4/94 @ Miami the 3 single worst shows I ever saw, especially the last night I had to finally turn away closing a door that began on 12/1/79 in my hometown. love these Archives bring back great memories.
Reviewer: Don Texist - - March 13, 2013
Subject: This is crazy good
Pretty amazing how you put all this talent together and get something that just keeps going going going
Reviewer: 20Hz - - January 19, 2012
Subject: credit
How about giving a little credit to the guys who recorded the FOB source? Nice work Jamie Young and Clay Brennecke! Excellent matrix effort Dan!
Reviewer: myhungryhippo - - May 9, 2010
Subject: 2nd set is a real treat
after a dank treat of my own
Reviewer: bigjohn71 - - September 7, 2009
Subject: Hey now!!!!
This was a great show!!!
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Grateful Dead
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Live Music Archive
Uploaded by
Matthew Vernon
on 3/30/2009
Grateful Dead
by Grateful Dead
Source: Master Audience Recorded By Mr. Darby; Sennheiser MD421's (PAS/DFC/Row 2 Behind Soundboard/6 Feet High)> Sony TC-D5M,Tapes Sony Metallic; Transfer Information:Tascam 112 MKII (XLR Out)> Tascam HD-P2 @ 24/48> HDD>Amadeus Pro (Tracking/Fades/FLAC8); Tracks Renamed/Dithered/Flacked With Korg Aqua To 16/44 By Keo; SBE's Checked/Fixed With Trader's Little Helper; Metadata Tagging With Tag&Rename
Grateful Dead
by Grateful Dead
( 1 reviews )
Source: Master Audience Recorded By Mr. Walker And Mr. Darby; AKGC460B/CK61's (DIN/Section FFF,Row 3, Seat 4/6 Feet High)> AKGB18 (With 48 Volt Transformers)>Sony TC-D5M> Sony TC-D5M,Tapes Set 1,Maxell MX-S,Set 2 Maxell MX; Transfer Information:Tascam 112 MKII (XLR Out)>Tascam HD-P2 @ 24/48> HDD>Amadeus Pro (Tracking/Fades/FLAC8); Tracks Renamed, Metadata Tagging With Tag&Rename By Keo
Grateful Dead
by Grateful Dead
Source: Master Audience Nakamichi CM300/CP4 Shotguns>Sony D7>Sony D6 (Patched Out Of D7) Tapes:Maxell XLII 90,XLII-S 100; Taper:Friend Of Floater Tapes From Floater,Transfer By Keo Transfer With Nakamichi MR-1>Korg MR-1000 @ 1 Bit/5.6 MHz Tracking/Sample Rate Conversion/Flacked/Metadata Tagging With AudioGate Software To 24 Bit/96 kHz
Grateful Dead
by Grateful Dead
Source: Sony D6 Cassette Master>Sennheiser 441 Mics>Sony TC- We 325 Home Cassette Deck(Playback)>Harmon Kardon CDR 20 Home Burner>CDR>EAC>Flac.
Grateful Dead
by Grateful Dead
Source: Taper: M. Laurentus; Taper Section: Section H, Row 30, Seat 1; AT835B's -SONY WM D6-C; Cassette-Tascam DR-5 Line In-CD Wave- Flac
Grateful Dead
by Grateful Dead
Source: Nakamichi CM300's/CP4's>Marantz PMD-420>Cass(m)
Grateful Dead
by Grateful Dead
Source: Do not remember the mics exception that they had shotgun characteristics > Sony D6 > Maxell MX 90's, located first right hand seat of taper section 12" stand.
Grateful Dead
by Grateful Dead
Source: Taper: Danny Thompson; Editing: Joe D'Amico; Akg C460B > Preamp Ck61 Uls > Uher Cr240; Master Tapes > Nak Dragon > Korg Mr-1000 > Adobe Audition CS6 > Traders Little Helper; Recorded Front Row Dead Center Right Behind Soundboard
Grateful Dead
by Grateful Dead
Source: Source: Schoeps CMC4/MK41 > Oade P/S? > PCM(Master) > PCM (Clone1); Location: OTS first row 110 degrees; PCM
Grateful Dead
by Grateful Dead
Source: source: (2) audio technica atm 11/ (2) nakamichi 300> tcd-d5>mc; conversion: sony tc we435>sony pcm m-10 24bit/96khz> soundforge> cdwave> traders little helper encoding option 8; conversion rate: 96000/24 bit